Brent Barrett Returns to Chicago on Broadway Next Week - TheaterMania.com Brent Barrett Returns to Chicago on Broadway Next Week Barrett will reprise his long-running role as lawyer Billy Flynn. David Gordon • New York City , Broadway • Jan 17, 2014 Brent Barrett will return to the role of Billy Flynn in Walter Bobbie's revival of Chicago at the Ambassador Theatre on January 20. (© Jeremy Daniel) The long-running Broadway revival of Chicago will welcome Broadway veteran Brent Barrett back to the cast on Monday, January 20, in the role of Billy Flynn. Ryan Silverman, who currently plays the role at the Ambassador Theatre , concludes his run on January 19. Barrett was most recently seen in a national tour of Peter Pan opposite Cathy Rigby. His Broadway credits include Annie Get Your Gun, Grand Hotel, West Side Story, and Kiss Me, Kate, for which he received an Olivier Award nomination in London. Chicago currently stars Bianca Marroquin as Roxie Hart, Amra-Faye Wright as Velma, Christopher Fitzgerald as Amos Hart, Bebe Neuwirth as Matron "Mama" Morton, and R. Lowe as Mary Sunshine.

The musical features a score by John Kander and Fred Ebb and a book by Ebb and Bob Fosse. Walter Bobbie directs. Chicago reviews London (Note: These are old reviews and the cast has now changed many times!!) Review by Amanda Hodges June 2002 Chicago remains of the sassiest, most stylish musicals on the London stage and it's no surprise that a whole host of well known faces have appeared in various roles since it first opened in 1997. The latest guest artiste is singer Marti Pellow who's just made an exciting debut in the role of Billy Flynn earlier this month. Set in the 1920's twilight world of Chicago, the plot loosely revolves around the showgirl Roxie Hart and her attempts to extricate herself from an inconvenient murder charge that's getting in the way of her career. Flynn is the slick, consummately devious lawyer who uses the old 'razzle-dazzle' of sheer showmanship to wow a gullible media and promote the causes of his various- usually culpable- clients.

From the first moment he appears, satirically framed by a circlet of feather boas, Flynn is at the centre of the action and you need a performer of strong presence- and persuasive charm- to carry off the role. Fortunately, despite a sometimes interestingly varied American accent, Pellow oozes panache and has a rich, smooth voice that perfectly fits the character's synthetic sincerity. As girls disputing the old adage that "crime doesn't pay", Anita Louise Combe (Roxie) and Anna-Jane Casey (Velma) are both good, Cassey in particular persuasive as the thwarted Velma who finds her position as queen bee of the prison being eclipsed by the ingenious exploits of scheming Roxie. Nether quite reach the heights of predecessors Ruthie Henshall or Ute Lemper, but judged independently they give winning performances, capably supported by an excellent ensemble. I must have been one of the last people to see this show.

After the initial hype and rush I still had no desire to see the show prompted one critic to comment "It's the combination of slinky dancing and tart songs that makes "Chicago" stand out from the others." Passing the theatre this weekend, though, I decided to see for myself. Sorry to say that I saw nothing to convince me that the show is worthy of its long run and high praise. True, there were some fine performances, from Annette McLaughlin, Susannah Fellows, Vanessa Leagh-Hicks and Mattie Clay-White. But there was no magic in the show, perhaps understandably when the show is staged as it would would be in a school hall. The plot is minimal and we never really get to know the characters. In my mind I kept seeing Maria Friedman in the show, singing "All That Jazz", and it always segued into "Words, Words, Words". The show looks like a cross between "Mama Mia" and "Fame" - a group of songs strung together with a lame excuse for a story, and maybe four main cast members and a cast of extras who run on, dance, and go off again. The difference is that "Fame" is entertaining!

Across the road from the Adelphi is the Savoy, home (briefly) of "Tess". Maybe it's something about the Strand that shows opening there are dark, dull and uninvolving. (Incidentally, I saw "Buddy" recently - the noisiest backstage crew in London, three mobile phones in the audience, and Gus McGregor as Buddy the only actor making an effort.) The dancing is impressive, as are the excellent band. Robert Purvis conducts with precision and unmistakable skill, and the band seems to enjoy themselves. It's a shame the cast don't put across the same happiness. Sacha Distel is hopelessly miscast as Billy Flynn - he can hold a tune, and his voice has a pleasant tone, but his words (spoken and sung) are unintelligible. George Layton as Amos Hart plays the part as if he was playing Eddie from Blood Brothers - he's not put upon, he's stupid and childish. Petra Nielsen as Roxie never becomes a character, always seeming unnecessary. Annette McLaughlin and Susannah Fellows had good chemistry on stage, and strong voices that were an added bonus. Mattie Clay-White was amazing, making a very convincing female.

I know this won't make me many friends, but the show is as unattractive as its theatrical home. It's dark, bland, dusty, showing its age, and needs serious renovation. (Chris George) Chicago has been running for over a year to packed houses and has now had a complete cast change. So how does this new cast compare to the original? Has the show lost any of its razzmatazz? Will it continue to enjoy sold out houses? "Chicago", directed by Walter Bobbie, has music by John Kander, lyrics by Fred Ebb, book by Fred Ebb and Bob Fosse, and is based on the play by Maurine Dallas Watkins. The story concerns 'Roxie Hart', a woman who has murdered her lover and now seeks the help of ' Billy Flynn', a sleazy lawyer, to help her get acquitted. The lawyer, 'Billy Flynn' has other clients as well, and one in particular 'Velma Kelly' a celebrity who thinks she knows all the tricks to clear herself of her murder charge. Or rather that is until 'Roxy' appears on the scene! What ensues is a battle between them for media attention in order to gain public sympathy for their cases.

When I saw the show with the original cast it was one of the best musical productions I had ever seen, and it still is. However, this new cast are not as exceptional as the original. Nicola Hughes has the most difficult task. Having to take over the role of ' Velma' which was played brilliantly by Ute Lemper. I don't think there is an actress in the world who could have matched Lemper in this role. She was born for the part. Nevertheless, Nicola is still a superb and talented performer. In fact she brings her own style and technique to the show and impresses. Actually, I have seen Nicole on stage a couple of times in recent years, 'Donna' in "The Goodbye Girl"and 'The Acid Queen' in "Tommy", and she excelled in both! The popular Maria Friedman, one of my favourite stars, has taken over the role of 'Roxie' from Ruthie Henshall, and again this is a difficult act to follow. Unfortunately, Maria is unable to match Ruthie Henshall's extraordinary performance. Her voice is not as powerful and as strong as Ruthie's and the dance routines not as sharp.

However, she still impresses and shows great skill and talent. She also brings more humour and laughs to the role. Clarke Peters is a fine 'Billy Flynn' and Peter Davison is superb as downtrodden 'Amos Hart'. Both are equal to Henry Goodman and Nigel Planer who played the original parts. The popular press are still impressed with Chicago, but like me still think the original cast were better. The headline in the EVENING STANDARD'S review by NICHOLAS DE JONGH reads" Cast in a new dapper decadence". De Jongh goes on to say "Ute Lemper's legs and Dietrich-like face…are missed", but goes on to say that Nicola Hughes "Boasts a fine athletic vigour". De Jongh's view of Maria Friedman's performance is " There's something obstinately, wrongly well-bred and soulful about her Roxie".

JEREMY KINGSTON says "Enjoy a tremendous evening in theatre." MICHAEL COVENEY of THE DAILY MAIL says " "One year after its triumphant opening, this sleek and sexy revival … is in fine, high-strutting shape." DAVID BENDICT of THE INDEPENDENT was very enthusiastic about Chicago saying, "It just got better." CHARLES SPENCER of THE DAILY TELEGRAPH says, "Chicago has lost almost none of its famous razzle-dazzle" and goes on to say "Those looking for truly adult pleasures should make haste to Chicago." Even though the two leading ladies are not as phenomenal as the original, Chicago is still a great musical that is a 'must see' on the West End. (Darren Dalglish) Four months ago on 18th November 1997, "Chicago" hit the West End with some of the best notices any show has received in recent times. The show has been a phenomenal success and is currently sold out for the next 3 to 4 months. I waited a few months to see this show in order to see if it would maintain its freshness and momentum after all the hype had died down.

I can tell you that this show lives up to all expectations and more. The performers were so fresh you would have thought it was opening night! "Chicago" , written in 1975, has music by John Kander, lyrics by Fred Ebb, book by Fred Ebb and Bob Fosse, and is based on the play by Maurine Dallas Watkins. "Chicago", which is directed by Walter Bobbie concerns 'Roxie Hart', a woman who has murdered her lover and now seeks the help of a sleazy lawyer to help her get acquitted. The lawyer, 'Billy Flynn' has other clients as well, and one in particular 'Velma Kelly' a celebrity who thinks she knows all the tricks to clear herself of her murder charge. Or rather that is until 'Roxy' appears on the scene! What ensues is a battle between them for media attention to gain sympathy for their cases. This is without doubt the hottest show to hit the West End in years. It is a breathtaking musical extravaganza that is simply brilliant.

It has some catchy and wonderful songs, like 'All That Jazz', 'Razzle Dazzle', 'Class', 'All I Care About' and the wonderful 'Mister Cellophane'. It has superb dance routines that are original and exciting. Ute Lemper is simply wild, sexy and breathtaking as 'Velma'. You can see why she won the 1998 Olivier award for Best Actress in a musical. Ruthie Henshall is also dynamic as 'Roxie' and frankly it must have been very hard for the judges of the Olivier's to choose between these two. Henry Goodman as the corrupt lawyer ' Billy Flynn' and 'Nigel Planer' as 'Roxie's' boring, put upon husband 'Amos Hart' are both perfectly cast for these parts and are a joy to watch. No props or big sets are used to enhance the show. The only thing on stage is a giant bandstand, which remains on stage the whole time. In fact, the conductor is part of the attraction as he bounces up and down in rhythm with the music. I'm sure he must be on something!! The notices from the popular press were all in agreement.

NICHOLAS DE JONGH says the show is a "delectable feast of wit, fun, nostalgia music and songs". BILL HAGERTY of THE NEWS OF THE WORLD says it is " A revival that's as close to musical theatre heaven as you are likely to get nowadays". PETER HEPPLE of THE STAGE says, "Hot revival with plenty of sass" and goes on to say "Kander and Ebb are certainly at their best here". JANE EDWARDES of TIME OUT says "It's the combination of slinky dancing and tart songs that makes "Chicago" stand out from the others." This is a show that is not to be missed, particularly with this cast. Go book your tickets now! (Darren Dalglish ) Review by John Timperley 29th Oct 1997 CHICAGO first saw the light of day in 1975. It crept into our consciousness, won awards, but didn't make everyone sit up and take notice.

Nowadays, when we're more used to murder, greed, corruption, violence, exploitation, adultery, treachery and (to quote the programme introduction) all those things we hold near and dear to our hearts, it will be noticed. I predict it will run, and run, and run. In short, it's the sweetest, funniest, sexiest murder story ever. With FLORA THE RED MENACE, CABARET and KISS OF THE SPIDER WOMAN under their belts, Fred Ebb and John Kander have never been afraid to tackle contentious subjects - and to delve into the depths of our emotions. CHICAGO has attributes other than digging deep. It is funny like a rippling brook and unashamedly, openly, Gianni Versace sexy. I would commit murder myself to be incarcerated with such a group of ravishing jailbirds - and willingly work my way through college on the way to the gallows. For me, this show is a testimony to the brilliance of the late Bob Fosse. He collaborated in writing the book of the play and brought his brilliance as a choreographer into the very heart of the drama.

His legacy lives on through Ann Reinking, until recently starring in the Broadway production, but now in London - directing the dance sequences. When the curtain goes up and you see the orchestra taking up most of the Adelphi stage, you wonder how they are going to move it away when the action starts. They don't move it, but the play moves you. Without being obtrusive we get the full benefit of the brilliant John Kander score whilst the action takes place on a cleverly utilised, and focused, front of stage. Roxie (Ruthie Henshall) is a role you'd kill for - and she does - kill I mean - in the opening scene. Now - you ask yourself - can this charming, talented trouper top her roles in CATS, OLIVER, MISS SAIGON, LES MIS, CRAZY FOR YOU, SHE LOVES ME, A CHORUS LINE and DIVORCE ME DARLING. Don't rush to find out - she'll be at the Adelphi for a long time, fine tuning her wickedness. The opening number All That Jazz lays the show right on the line. If I was mesmerised by the women it's because I wear trousers - most of the time.

The male dancers are like sharks at a mermaid's picnic and I share their lust. Until Roxie establishes herself, the big shot amongst the female felons is Velma Kelly (Ute Lemper) who is bitchily bossy and breathtakingly balletic. Her legs go on for ever and teach us that perpendicular is somewhere else. Up there, in the flys. Her accomodating captor is the prison Matron (Mama) Morton (Meg Johnson) who takes a cut from every known exploitation, except the crime of murder which epitomises the wrongdoing of every bird of passion in her latter-day Alcatraz. Other roles. Roxie's husband, Amos Hart (Nigel Planer) is pathetically pleasing and deserving of her love and ours, but he is, as he explains in the lyrically strong song Mister Cellophane, an easy figure to ignore. When he is finally forced to admit Roxie's treachery and asks for his exit music, he has to walk off in total silence. Hard on a man. Billy Flynn (Henry Goodman) is the sleazy, hook-nosed, evil, sonofabitch lawyer, who wheadles his way into everbody's back pocket.

I wouldn't trust him to look after my dog's leavings on the sidewalk, while I was in a bank collecting his bribe. Having seen Henry playing Nathan Detroit in GUYS AND DOLLS at the RNT, the trouble for me is that he can't put a foot wrong, and he will surely linger in my memory as the advocate who saves our now beloved Roxie from the big drop. One day, someone will have to explain to me what Mary Sunshine (C. Shirvell) is all about. For now, I'm going to luxuriate in the memory of Fred Ebb's script and lyrics. Unlike, for example, CITY OF ANGELS they are well spaced and crystal clear - we know what's going on every step of the way. You won't find a better series of "steps on the way" in any musical which compares favourably with Razzle Dazzle. It raises goose pimples in places where the sands of time have long run out. Which is why I'm tempted to express personal, biased, lusty feelings for two gamines - Mona (Jacqui Jameson) and Go-To-Hell Kitty (Vanessa Leach-Hicks).

I'm available, but don't call me - you'd be disappointed. I wasn't. This American classic, directed by Walter Bobbie, will be around for years - as a flagship of everything that's best about West End theatre. Give 'em the old razzle dazzle. Yeah - razzle dazzle 'em. Loved it. Country Star Billy Ray Cyrus Moves to Chicago as Smooth Lawyer Billy Flynn | Broadway Buzz | Broadway.com Country Star Billy Ray Cyrus Moves to Chicago as Smooth Lawyer Billy Flynn News By Broadway.com Staff November 5, 2012 - 12:14AM Upcoming 'Chicago' star Billy Ray Cyrus is joined by Dylis Croman and Cristy Candler. About the Show Buy Tickets Billy Ray Cyrus begins his run in 'Chicago.' Billy Ray Cyrus may have once had an "Achy Breaky Heart," but these days all he cares about is love! The country singer will begin his run as slick lawyer Billy Flynn in the Broadway production of Chicago on November 5 at the Ambassador Theatre. Cyrus is scheduled to star in the show through December 23.

Set in the 1920s, Chicago follows Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover. Desperate to avoid conviction, she hires Billy Flynn (Cyrus), Chicago's slickest criminal lawyer, much to the dismay of her rival cellmate Velma Kelly. Directed by Walter Bobbie, the Tony-winning revival is now in its 16th year. Cyrus, best known for the smash hit “Achy Breaky Heart,” has sold 25 million albums internationally and has had three No. 1 hit singles. Having released 11 studio albums since 1992, he has released nearly 30 chart singles, including 15 Top 40 hits. His newest album, Change My Mind, was released in October. Cyrus appeared for five seasons on Hannah Montana as Robby Ray Stewart, father of the title character played by his real-life daughter Miley Cyrus. His film credits include Hannah Montana: The Movie, Flying By, Christmas in Canaan, Christmas Comes Home to Canaan, The Spy Next Door and Mulholland Drive.

The Tony-winning revival currently stars Amy Spanger as Roxie Hart, Amra-Faye Wright as Velma Kelly, Carol Woods as Matron “Mama” Morton, C. Newcomer as Mary Sunshine and Cory English as Amos Hart. Watch Cyrus prep for his Mainstem debut in his special Broadway.com video blog below! Chicago the Musical | Chicago Theater Beat Chicago Theater Beat The new razzle dazzle as pertinent as ever through June 12 | tickets : $30-$95 | more info Reviewed by Lawrence Bommer Now in its fifteenth year, this slimmed-down, near-concert version of Kander and Ebb ’s cynical and enthralling musical features, as the smoothly lying lawyer Billy Flynn, John O’Hurley (J. Peterman in “Seinfeld” and a fixture on “Dancing with the Stars.” It’s a sardonic case of art-mutilates-life: As the press-wheedling lawyer in this sexy-strutting, Tony-winning revival of Chicago, O’Hurley exactly recalls Johnnie Cochran at his ingratiating worst. His deadpan asides and silky put-downs are passive aggression at its most insidious. Chicago proves again how everything old is new again.

For Maurine Watkins ‘ crime-based comedy (an amoral companion to “The Front Page”, its equally cynical contemporary), the time is 1926, when a shyster flim-flams a credulous jury with "razzle dazzle." Following acquittal, Chicago murderesses Roxie Hart and Velma Kelly–former rivals turned reluctant partners–enjoy brief vaudeville glory at, among many venues, our old McVickers Theatre . Then "Chicago’s killer-dillers" sink into the obscurity that was interrupted by two unpunished slayings. Forget the Jazz Age backdrop: this "drop dead" musical is as cunningly current as the Casey Anthony trial. The target for Kander and Ebb’s wicked 1975 musical, vibrantly restored in Walter Bobbie’s stream-lined staging, is phony celebrities, a prurient press that wallows in the vices it pretends to scorn, a bottom-feeding public who prefer killers to victims, and the cynical credo that showbiz sucks on somebody else’s sorrow.

Add to this deja vu our tabloid/talk-show penchant for forgiving confessional criminals who plead for pity over punishment–and Chicago seems as contemptuous as a former IMF honcho under condo arrest. Told as vaudeville (with the 20 songs depicting "acts of desperation"), Chicago moves a lot faster than justice. Set inside gold frames (the inner one enclosing the first-rate band, the outer the in-your-face stage action), the hit-and-run scenes shake and shimmy. Stripped of sets (who needs a chandelier or helicopter with songs like these?), director Walter Bobbie focuses on the song-and-dance glories that Bob Fosse bequeathed to Ebb’s infectious score and that Anne Reinking lovingly reconstructs. I treasure the memory of seeing Gwen Verdon and Chita Rivera on March 1, 1978, in a touring production at the old Blackstone Theatre , as well as the late Michael Barto ‘s 1994 Prologue Theatre revival. But this fiercely concentrated second-coming invents its own showbiz heaven. Supple as panthers, the silky-smooth, superbly-conditioned cast slink through "All That Jazz" till the theater risks meltdown.

"Razzle Dazzle," spiced with a shower of silver sequins, a mirror globe and a descending bank of backlights, amounts to a Broadway orgasm. At the vortex of Reinking’s carnivorous, bump-and-grind choreography is four-star bravura work. Terra C. MacLeod ’s Velma is hilarious as half a dance team in her frenzied "I Can’t Do It Alone." Tracy Shayne remorselessly turns Roxie Hart into a lethal mix of Jean Harlow and Leona Helmsley. O’Hurley has contagious fun swaggering among simpering, feather-fanning chorines in "All I Care About," and big-bosomed Roz Ryan , as a Cook County dominatrix-matron, tears the soul from her ragtime anthem "When You’re Good To Mama." Ron Orbach , repeating the part that fits him like his ugly costumes, is suitably self-effacing as Roxie’s nebbish husband Amos and, memorably, T.W. Smith‘s toxic depiction of a sob-sister reporter is as deceptive as her crime stories. Thanks to this sizzling production, Chicago’s summer just got a lot hotter. Reviewed by Leah A.

Zeldes Hot flashes, varicose veins, dimming vision, escaping memories, philandering husbands … these are the subjects of Mid-life! The Crisis Musical, currently at Metropolis Performing Arts Centre in Arlington Heights. The opening number offers a laundry list of the pains of the 40s and 50s … and the rest of this overlong show, like middle age itself, goes downhill from there. Less a musical than a revue, the show quickly becomes repetitive, with the litany of the first song expanded in a series of thematic songs and skits. The humor expends itself rapidly — these are all jokes we’ve heard before. (And much of the opening-day audience at Metropolis not only lived through them but also at least a decade or two beyond.) The funniest number, "What Did I Come In Here For?" comically details the problems of short-term memory loss. A mid-life translator interprets the frustrations of aging husbands ("I want to sleep with other women") to their weepy, menopausal wives and vice versa.

"He Got What He Deserves" (a low-budget version of "Cell Block Tango" from Chicago ) suggests that two-timing, middle-aged lotharios get their just rewards, a sadly untrue contention. Some of the bits are just plain dumb, like one about a singing mammogram. "The Long Goodbye," a song about the difficulties of caring for elderly parents in senile dementia had the potential to be poignant, but the writers went for cheap laughs instead. The cast, portraying six nameless middle-aged characters, carries through well, with good timing and fine moves, yet they can’t add much to such lightweight material. Dennis Brown‘s cockney accent seemed a bit distracting, though, and the women — Kate Brown, Elizabeth Haley and Katie Miller — all appear too young for the roles they’re supposed to be playing. Costume Designer Cathy Tantillo apparently tried to address this by putting them in frumpy knee-length khaki skirts with unattractive hem-line borders and maroon tops that emphasize bulges. Scott Alan Emerick , 41, looks a bit on the youthful side, too, especially in a "Weekend Warriers" skit that portrays him as being the same age as the older men.

Haley and David Elliott bring notable voices to their performances, but the music – peppy and uncomplicated – doesn’t give them much scope. (Hear samples on the website .) Robin M. Hughes uses a rear-stage video screen to introduce each number in a singularly uncreative use of high tech. The videos, mostly ugly, do nothing that wouldn’t have been more effective in live sequences … even an actor just carrying a sign across the stage. Michael Gehmlich and Adam Veness have constructed an interesting multilevel staircase set, with two proscenium arches studded with 156 lights. It’s a pity that Christie Kerr’s uninspired choreography doesn’t make better use of it. Getting old may be no joke, but Mid-life! The Crisis Musical won’t do much to lift your spirits.

Articles about Billy Flynn - tribunedigital-chicagotribune Quote March 6, 2009 "God save Illinois." --Billy Flynn (Richard Gere), "Chicago" Submitted by Gloria Dalka, Skokie Submit your favorite quote at ctc-movies@tribune.com ENTERTAINMENT Theater June 2, 2011 "Chicago," the Broadway musical, always seems to count on a little extra razzle-dazzle when it comes here. This is a touring production of a Barry Weissler-built show from New York, but Chicago is the city of its namesake, the big shoulders-and-backroom-deals city of its inspiration, the city where the story is set. Before "Chicago" was a John Kander, Fred Ebb and Bob Fosse musical, it was the creation of Maurine Watkins, a police reporter for the... Advertisement `Chicago' returns with Wopat as Flynn By Chris Jones | September 14, 2005 Tom Wopat, still best known for playing Luke Duke in the series "The Dukes of Hazzard," will liven up the umpteenth return Chicago engagement of the city's namesake musical.

Wopat, who has numerous Broadway and recording credits, will play attorney Billy Flynn. It's a role that has been played by a dizzying array of celebrities of varying wattage. The rest of the cast has not been announced. "Chicago" plays the Cadillac Palace Theatre, 151 W. Randolph St., from Nov. 22... NEWS Jerry Springer wants his show's staffers to be able to keep their jobs March 11, 2009 With jobs everywhere disappearing, Jerry Springer is trying to get NBC Universal to keep some of his show's staffers on board as the company considers moving production of "The Jerry Springer Show" from Chicago to Stamford, Conn., at the end of this season. Springer said he understands the tax incentives for a move are too good to pass up. But he's also mindful of the tight job market and wants as many "Springer" employees as possible offered the chance to... NEWS 'Chicago' player August 25, 2006 Apparently Usher (right) doesn't have any problems with commitment. The R&B superstar said starring in the Broadway production of "Chicago" has been a full-time gig.

"Broadway is like a monogamous relationship," he told People magazine at a party after making his debut as singing lawyer Billy Flynn. "Doing anything else, like acting in Hollywood--which is great--it's like a one-night stand. You do it, and then you keep moving." Usher will be staying put on the stage until his run ends Oct. 1. ENTERTAINMENT Quote March 6, 2009 "God save Illinois." --Billy Flynn (Richard Gere), "Chicago" Submitted by Gloria Dalka, Skokie Submit your favorite quote at ctc-movies@tribune.com ENTERTAINMENT 'Chicago' to hit town again By Chris Jones, TRIBUNE CRITIC | October 1, 2008 The 10th -- yup, 10th -- national tour of the 1997 Broadway revival of John Kander and Fred Ebb's "Chicago" has booked yet another engagement in its namesake city. Tom Wopat is slated to play the silver-tongued Billy Flynn.

Wopat is, of course, best known for his seven-season stand on "The Dukes of Hazzard." But he's also a distinguished Broadway performer and recently appeared in "A Catered Affair." Also in the cast: Bianca Marroquin as Roxie Hart, Terra C. MacLeod as Velma Kelly and Roz... ENTERTAINMENT O'Hurley is all about 'Chicago' By Doug George, TRIBUNE REPORTER | February 20, 2009 He's an unrepentant Chicago rascal, unapologetically in it for the money -- in fact you're a sucker if you live your life otherwise. Job One is keeping his sleazy self in the spotlight and the public on a string. He's Billy Flynn, the razzle-dazzle lawyer in "Chicago The Musical." Whom did you think we were talking about? A touring Broadway production of "Chicago" opens Wednesday at the Oriental Theatre with television's John O'Hurley in the Flynn role. (You'll know O'Hurley from...

NEWS Sin-sational By Michael Wilmington | December 27, 2002 Based on the 1942 movie "Roxie Hart"--and the 1975 Broadway show by director-choreographer-co-writer Bob Fosse and "Cabaret" partners John Kander and Fred Ebb--this is a cynical Cinderella musical about corrupt people with big appetites in Prohibition-era Chicago, with Renee Zellweger as killer-cherub Roxie, who tries to parlay tabloid notoriety as a murderess into a show-biz career, Catherine Zeta-Jones as fellow killer Velma and Richard Gere... ENTERTAINMENT 'Chicago' to hit town again By Chris Jones, TRIBUNE CRITIC | October 1, 2008 The 10th -- yup, 10th -- national tour of the 1997 Broadway revival of John Kander and Fred Ebb's "Chicago" has booked yet another engagement in its namesake city. Tom Wopat is slated to play the silver-tongued Billy Flynn.

Wopat is, of course, best known for his seven-season stand on "The Dukes of Hazzard." But he's also a distinguished Broadway performer and recently appeared in "A Catered Affair." Also in the cast: Bianca Marroquin as Roxie Hart, Terra C. MacLeod as Velma Kelly and Roz... ENTERTAINMENT Theater June 2, 2011 "Chicago," the Broadway musical, always seems to count on a little extra razzle-dazzle when it comes here. This is a touring production of a Barry Weissler-built show from New York, but Chicago is the city of its namesake, the big shoulders-and-backroom-deals city of its inspiration, the city where the story is set. Before "Chicago" was a John Kander, Fred Ebb and Bob Fosse musical, it was the creation of Maurine Watkins, a police reporter for the... NEWS 'Chicago' player August 25, 2006 Apparently Usher (right) doesn't have any problems with commitment. The R&B superstar said starring in the Broadway production of "Chicago" has been a full-time gig.

"Broadway is like a monogamous relationship," he told People magazine at a party after making his debut as singing lawyer Billy Flynn. "Doing anything else, like acting in Hollywood--which is great--it's like a one-night stand. You do it, and then you keep moving." Usher will be staying put on the stage until his run ends Oct. 1. NEWS Jerry Springer wants his show's staffers to be able to keep their jobs March 11, 2009 With jobs everywhere disappearing, Jerry Springer is trying to get NBC Universal to keep some of his show's staffers on board as the company considers moving production of "The Jerry Springer Show" from Chicago to Stamford, Conn., at the end of this season. Springer said he understands the tax incentives for a move are too good to pass up. But he's also mindful of the tight job market and wants as many "Springer" employees as possible offered the chance to... NEWS Misik Jr., William J. January 19, 2006 William "Billy" J. Misik Jr., age 21, of Lake Zurich. Dearest son of Chris and the late William J.

Misik Sr.; stepbrother of Michelle Misik, Joelle (Larry) Hoeser and Joey, Heather McKee; nephew of Uncle Jim; greatnephew of John and Anne Sykes of Georgia; and survived by many cousins; and friend to all. Born October 12, 1984, in Lake Forest, IL; died January 16, 2006, in Evanston, IL. Billy was a Christian, a scholar, a thespian, a musician, a mentor and a friend to everyone. He was an incredibly talented,... NEWS Johnnie Cochran In Song And Dance? By Mike Conklin, Tribune Staff Writer | July 13, 1997 "Chicago" appears headed for the big screen and the speculation is flowing. Goldie Hawn as Roxie Hart. Madonna as Velma Kelly. Rosie O'Donnell as Mama Morton. When the touring production of "Chicago," which had been playing to excellent reviews and full houses in the National Theatre, opens in Chicago, another casting possibility should become clear. Obba Babatunde would be ideal for the movie role of Billy Flynn, a savvy, streetwise lawyer who springs an obviously guilty client...

FEATURES Cast choices limit `Joseph' and `Chicago' By Chris Jones, Tribune arts critic | November 28, 2005 Amy Adams, the narrator in "Joseph and the Amazing Technicolor Dreamcoat," didn't win the 2004 edition of "American Idol." She finished in the top 10. But in these topsy-turvy cultural days--wherein a youngish star deigning to tour with a theatrical attraction has become as rare as sunshine in late November--a reality-TV also-ran gets serious clout when it comes to billing. Similarly, if someone had told you a decade ago that a gig on The Learning Channel would be enough to satisfy... NEWS A new age, a new kind of temple February 10, 2003 Just a few years ago it appeared that the venerable Medinah Temple had a date with the wrecking ball. The exotic building on the Near North Side was going to make way for something in the name of "progress." The 90-year-old temple was granted a reprieve. More than a reprieve, really--a splendid makeover that has retained its beauty and history and created a whole new use.

It has been reborn as a retail temple housing a Bloomingdale's home furnishings store. The Shriners should be proud of... NEWS Academy Award-winning actress Whoopi... By Edited by Leo Ebersole (lebersole@tribune.com) and Curt Wagner (cwwagner@tribune.com) | December 11, 2002 MAKING WHOOPI: Academy Award-winning actress Whoopi Goldberg has signed a deal as star and executive producer of a new comedy series for NBC, the network said Tuesday. Goldberg, most recently seen on TV as the featured celebrity on the syndicated game show "Hollywood Squares," which she also produced, will work with TV production company Carsey-Werner-Mandabach on the new show. The network said no plot details have been determined, and it did not release a premier date for the... Chicago The Musical: Charlottesville, Virginia Community Events Tandem Friends School Description: Tandem Friends School presents the blockbuster musical Chicago for one weekend only, October 28-31. Join the merry murderesses and their razzle dazzle lawyer Billy Flynn as they vie for publicity and innocence in 1930's Chicago.

When Roxie Hart murders her lover and tries to blame it on her husband, she ends up jail with Velma, who murdered her sister and husband, and a handful of other women on trial for doing in their husbands and lovers. Roxie and Velma vie for headlines with the press, as each tries to win the hearts of the public by using reporters like Mary Sunshine and their slick lawyer to tell their twisted tales. Directed by Larry Goldstein, with musical direction by Greg Harris and choreography by Galen & Jessica Greenlaw, Chicago features an talented cast of singers, dancers and actors. The musical features classic songs like All That Jazz, Mr. Cellophane, and Cell Block Tango, and enjoyed a rebirth not long ago with a popular movie version featuring Renee Zellweger, Catherine Zeta-Jones, Queen Latifah and Richard Gere. Chicago runs for one weekend only in the Tandem Friends School Community Hall, with performances Thursday-Saturday, October 28-30 at 7pm, and a matinee on Sunday the 31st at 2pm.

Tickets are $12 for adults and $7 for students/seniors, and can be reserved by calling 296-1303. A limited number of tickets will be available at the door. Please note that Chicago contains some adult material, and may not be appropriate for young children. Address: View All Photos (17) Movie Info A starry-eyed would-be star discovers just how far the notion that "there's no such thing as bad publicity" can go in this screen adaptation of the hit Broadway musical Chicago, originally directed and choreographed by Bob Fosse. In the mid-'20s, Roxie Hart (Renee Zellweger) is a small-time chorus dancer married to a well-meaning dunderhead named Amos (John C. Reilly). Roxie is having an affair on the side with Fred Casley (Dominic West), a smooth talker who insists he can make her a star. However, Fred strings Roxie along a bit too far for his own good, and when she realizes that his promises are empty, she becomes enraged and murders Fred in cold blood.

Roxie soon finds herself behind bars alongside Velma Kelly (Catherine Zeta-Jones), a sexy vaudeville star who used to perform with her sister until Velma discovered that her sister had been sleeping with her husband. Velma shot them both dead, and, after scheming prison matron "Mama" Morton hooks Velma up with hotshot lawyer Billy Flynn (Richard Gere), Velma becomes the new Queen of the scandal sheets. Roxie is just shrewd enough to realize that her poor fortune could also bring her fame, so she convinces Amos to also hire Flynn. Soon Flynn is splashing Roxie's story -- or, more accurately, a highly melodramatic revision of Roxie's story -- all over the gutter press, and Roxy and Velma are soon battling neck-to-neck over who can win greater fame through the headlines. A project that had been moving from studio to studio since the musical opened on Broadway in 1973, Chicago also features guest appearances by Lucy Liu and Christine Baranski.

~ Mark Deming, Rovi Rating: PG-13 (for sexual content and dialogue, violence and thematic elements) Genre: Walter Bobbie | Chicago Theater Beat Chicago Theater Beat The new razzle dazzle as pertinent as ever through June 12 | tickets : $30-$95 | more info Reviewed by Lawrence Bommer Now in its fifteenth year, this slimmed-down, near-concert version of Kander and Ebb ’s cynical and enthralling musical features, as the smoothly lying lawyer Billy Flynn, John O’Hurley (J. Peterman in “Seinfeld” and a fixture on “Dancing with the Stars.” It’s a sardonic case of art-mutilates-life: As the press-wheedling lawyer in this sexy-strutting, Tony-winning revival of Chicago, O’Hurley exactly recalls Johnnie Cochran at his ingratiating worst. His deadpan asides and silky put-downs are passive aggression at its most insidious. Chicago proves again how everything old is new again.

For Maurine Watkins ‘ crime-based comedy (an amoral companion to “The Front Page”, its equally cynical contemporary), the time is 1926, when a shyster flim-flams a credulous jury with "razzle dazzle." Following acquittal, Chicago murderesses Roxie Hart and Velma Kelly–former rivals turned reluctant partners–enjoy brief vaudeville glory at, among many venues, our old McVickers Theatre . Then "Chicago’s killer-dillers" sink into the obscurity that was interrupted by two unpunished slayings. Forget the Jazz Age backdrop: this "drop dead" musical is as cunningly current as the Casey Anthony trial. The target for Kander and Ebb’s wicked 1975 musical, vibrantly restored in Walter Bobbie’s stream-lined staging, is phony celebrities, a prurient press that wallows in the vices it pretends to scorn, a bottom-feeding public who prefer killers to victims, and the cynical credo that showbiz sucks on somebody else’s sorrow.

Add to this deja vu our tabloid/talk-show penchant for forgiving confessional criminals who plead for pity over punishment–and Chicago seems as contemptuous as a former IMF honcho under condo arrest. Told as vaudeville (with the 20 songs depicting "acts of desperation"), Chicago moves a lot faster than justice. Set inside gold frames (the inner one enclosing the first-rate band, the outer the in-your-face stage action), the hit-and-run scenes shake and shimmy. Stripped of sets (who needs a chandelier or helicopter with songs like these?), director Walter Bobbie focuses on the song-and-dance glories that Bob Fosse bequeathed to Ebb’s infectious score and that Anne Reinking lovingly reconstructs. I treasure the memory of seeing Gwen Verdon and Chita Rivera on March 1, 1978, in a touring production at the old Blackstone Theatre , as well as the late Michael Barto ‘s 1994 Prologue Theatre revival. But this fiercely concentrated second-coming invents its own showbiz heaven. Supple as panthers, the silky-smooth, superbly-conditioned cast slink through "All That Jazz" till the theater risks meltdown.

"Razzle Dazzle," spiced with a shower of silver sequins, a mirror globe and a descending bank of backlights, amounts to a Broadway orgasm. At the vortex of Reinking’s carnivorous, bump-and-grind choreography is four-star bravura work. Terra C. MacLeod ’s Velma is hilarious as half a dance team in her frenzied "I Can’t Do It Alone." Tracy Shayne remorselessly turns Roxie Hart into a lethal mix of Jean Harlow and Leona Helmsley. O’Hurley has contagious fun swaggering among simpering, feather-fanning chorines in "All I Care About," and big-bosomed Roz Ryan , as a Cook County dominatrix-matron, tears the soul from her ragtime anthem "When You’re Good To Mama." Ron Orbach , repeating the part that fits him like his ugly costumes, is suitably self-effacing as Roxie’s nebbish husband Amos and, memorably, T.W. Smith‘s toxic depiction of a sob-sister reporter is as deceptive as her crime stories. Thanks to this sizzling production, Chicago’s summer just got a lot hotter. Time for a Tap Dance!

Alexander Gemignani Moves to Chicago as Smooth Lawyer Billy Flynn | Broadway Buzz | Broadway.com Time for a Tap Dance! Alexander Gemignani Moves to Chicago as Smooth Lawyer Billy Flynn News By Ryan Gilbert June 18, 2013 - 10:00AM Buy Tickets Alexander Gemignani joins the cast of 'Chicago' on June 18. The long-running, Tony Award-winning revival of Chicago welcomes Broadway favorite Alexander Gemignani to the razzling and dazzling company beginning June 18 at the Ambassador Theatre. Gemignani takes over the role of cunning lawyer Billy Flynn, succeeding Tony nominee and Broadway.com Audience Choice Award winner Adam Pascal , who ended his engagement June 16. Set in the 1920s, Chicago follows Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover. Desperate to avoid conviction, she hires Billy Flynn, Chicago's slickest criminal lawyer, much to the dismay of her rival cellmate Velma Kelly. Directed by Walter Bobbie, the Tony-winning revival is now in its 17th year.

Gemignani's Broadway credits include Les Miserables, Sweeney Todd, Assassins, The People in the Picture and Sunday in the Park with George. His off-Broadway credits include Road Show, Headstrong and Avenue Q. The cast of Chicago also features Amy Spanger as Roxie Hart, Amra-Faye Wright as Velma Kelly, Paul C. Vogt as Amos Hart and R. Lowe as Mary Sunshine. Tapdancing Around the Witness - Chicago (11/12) Movie CLIP (2002) HD - YouTube Tapdancing Around the Witness - Chicago (11/12) Movie CLIP (2002) HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Sep 27, 2011 Chicago movie clips: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: Billy Flynn (Richard Gere) dances around Velma (Catherine Zeta-Jones) in the courtroom.

FILM DESCRIPTION: A starry-eyed would-be star discovers just how far the notion that "there's no such thing as bad publicity" can go in this screen adaptation of the hit Broadway musical Chicago, originally directed and choreographed by Bob Fosse. In the mid-'20s, Roxie Hart (Renee Zellweger) is a small-time chorus dancer married to a well-meaning dunderhead named Amos (John C. Reilly). Roxie is having an affair on the side with Fred Casley (Dominic West), a smooth talker who insists he can make her a star. However, Fred strings Roxie along a bit too far for his own good, and when she realizes that his promises are empty, she becomes enraged and murders Fred in cold blood. Roxie soon finds herself behind bars alongside Velma Kelly (Catherine Zeta-Jones), a sexy vaudeville star who used to perform with her sister until Velma discovered that her sister had been sleeping with her husband.

Velma shot them both dead, and, after scheming prison matron "Mama" Morton hooks Velma up with hotshot lawyer Billy Flynn (Richard Gere), Velma becomes the new Queen of the scandal sheets. Roxie is just shrewd enough to realize that her poor fortune could also bring her fame, so she convinces Amos to also hire Flynn. Soon Flynn is splashing Roxie's story -- or, more accurately, a highly melodramatic revision of Roxie's story -- all over the gutter press, and Roxy and Velma are soon battling neck-to-neck over who can win greater fame through the headlines. A project that had been moving from studio to studio since the musical opened on Broadway in 1973, Chicago also features guest appearances by Lucy Liu and Christine Baranski. CREDITS: Cast: Renée Zellweger, Catherine Zeta-Jones, Richard Gere, John C. Reilly, Colm Feore, Sean McCann Director: Rob Marshall Producers: Jennifer Berman, Don Carmody, Sam Crothers, John M.

Eckert, Julie Goldstein, Neil Meron, Meryl Poster, Martin Richards, Bob Weinstein, Harvey Weinstein, Craig Zadan Screenwriters: Bill Condon, Bob Fosse, Fred Ebb, Maurine Dallas Watkins WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans. SUBSCRIBE TO OUR MOVIE CHANNELS:

Question: Which musical features the lawyer Billy Flynn?
Answer: CHICAGO